균열의 몫 The Cracked Share (2005)

DescriptionIt is in the spirit of an experience and experiment that Hang Jun Lee's «The Cracked Share» must be viewed. Seized in moments of visual detachment during periods of emotional contact, these images are oxidized residues of fixed light and chemical elements of transformed from living organisms. No plastic expression can ever be more than a residue of the experience and yet, the residue is the recognition of the experience, loss permeates the work and yet somehow the experience endures, recalling the event more or less clearly, like the undisturbed ashes of an object consumed by flames. The recognition of this object, so little representative and so fragile, speaks to us of this artist's isolation. «The Cracked Share» is quite wonderfully dense and visceral in nature ....the sense of visual rhythm is well paced and the appropriated footage of the Astronauts / Pornographic actor /Horse in "The Cracked Share" is wonderfully imaginative and fluid...an ocular alkahest (Carl E. Brown, 2008)

..unconcealment the film material itself.......The film is just a tensile strength between emulsion and base. I found new laws of particle motion investigating condition its physical chemistry attribute. I reworked image by a various chemical that sodium & potassium is included and adjustment of hydrogen ion concentration is available. Work that is oxidized again silver particles that are gotten restored through film developer in darkroom....do me to reach in a new state. I began to examine...about that experience talks to me at the point justly.Title of this work is inspired from Georges Bataille "Accursed share" (Hangjun Lee, 2007)

Surely, the tradition of the Cracked and Handmade improvised music teaches us the crucial lesson that “[m]edia and mediation are never transparent” and that “[m]ediation actively transforms data from one form to another and is never passive.” We couldn’t agree to this statement more. However, without the removal and withdrawal power of improvisation that poses and keeps both subjects (performer and audience) and objects (projector and instrument) in “inferiority,”4 generalized cracking and hacking practices—or simply “glitch”—in music and visuals would be either sublimated into the mystical and ritualistic forms of “Film Alchemy” and “Noise Music” (to which both of us still strongly feel a belonging but also, more or less, ambivalent sentiments), or else assimilated into the logic of the commodified audio-visual communication. Today in music, this principle of improvisational performativity should be formulated as the dis-organization of sound against the associational definition of (electronic) music and it needs to be translated into audio-visual experiences.

In other words, cracking practices of free improvisation need not be limited in artistic creativity, in a darkroom, in a studio, or on the stage; the principle of the dis-organization of sound should be the principle of dis-organization (or cracked organization) of audio-visual performance space itself.(Hangjun LEE & Chulki Hong, 2012)